clifford_thornton

Chuck did point out in another thread that all Impulse! studio recordings were done in stereo, and mono LPs are "folded-down" from the stereo version. To get the natural Impulse! sound, one should stick to the original stereo LPs. I have some mono Impulse! LPs and they sound good to me. All were cheaply procured.

I didn't like it much when it came out, partly because the promo I received mentioned nothing about its "homage" to Coltrane, and I thought it seemed to be recycling timeworn phrases and ideas. Yet, even considering that its heart in the right place, what stimulated me the most was Rubalcaba's playing. The rest of the band wasn't doing much for me.

Masotti's photos are something. Thanks for the insight.

I actually like the Jazz Realities stuff with Bley, Brotzmann and Kowald. The recording I have is pretty shitty, but the music opens up into some interesting (and very intense) areas. It certainly doesn't sound like the Fontana LP!

How is this? The actual soundtrack for "A Patch of Blue" is often listed as a favorite by Jerry Goldsmith fans, but it's never done that much for me. It's a great session. Well worth while. It strays rather far from "program music" or a "concept record," and the rhythm section of Bob Cunningham and Roger Blank give it a tighter groove than some of Dickerson's other sessions from the period.

Jim, have you heard him on Paul Motian's albums (Conception Vessel and Tribute)? I feel like he's better utilized on those. That said, there's one really cooking track on Keith's Expectations ("Roussillion" or "The Circular Letter") where he solos over a burning Motian-Haden rhythm section, it's fantastic. Guy Conception Vessel is a GREAT record, both the Jarrett and Sam Brown contributions certainly help that. Ditto Leroy Jenkins (RIP) and Becky Friend... Edit to say: which of the "freer" Jarrett American 4tet recs would you recommend?

Happy Belated! Hope it was a good one...

Happy Birthday E, and spin some Zitro!

Peacock was also on the Lasha-Simmons Contemporary date The Cry, though that's more freebop than "free." I'd also bring up Bley as another regular Peacock associate during the mid-60s.

I'd like to year what you could do in another environment, too!

This might sound like a cop-out re: Peacock, but if you played in the early Ayler groups, what else is there? I too remain unconvinced by much Holland's done in recent years, "nice" as it might be.

Think I GAVE mine away...

Nakatani and Don Miller would be pretty good in and of themselves...

I'm sure they're fine for online ordering of small stuff. However, when I lived in Minneapolis and they were the only real place to go to for parts and service, they were a real hassle to deal with in-person. 10-5 hours only on weekdays, and rude, stoned 20-year-olds working the joint.

Yeah, I do that ALL the time. Or used to, when I saw good and semi-rare jazz LPs in stores.

Ahmed Abdul-Malik - Sounds of Africa - (New Jazz orig) A beautiful day for "Wakida Hena!"

I have the RCA-Victor and the second New Jazz on vinyl (both originals, and scored for reasonable deals). I have to say the RCA is a particularly fine date... though that opening High Life-esque tune on Sounds of Africa is a great tune also. Gonna spin it right now!

This is one I don't have. Not too much ICP material has been reissued; I think there was something about Mengelberg not wanting to revisit "the old music" or some such. Couple that with the falling out he and Breuker had (Breuker's address was the one you saw on original pressings), and it's not likely to happen any time soon. Corbett had inquired about this very subject for potential UMS release a few years ago, and it wasn't gonna happen...

I'm with ya. Congrats!!!

Elmer Snowden - Harlem Banjo - (Riverside mono orig) Produced by our own Chris A.!

That's an awesome clip. Thanks!

"EI: Yeah, they gave up that phase "black music" awhile back, but it is interesting to remember that there was that rhetoric for at least a decade. I don’t think Cecil says "Africa" too much any more, either, which is just as well, since any record of the whitest British rock has more to do with Africa than any Cecil Taylor record of the last 40 years." Could Iverson BE the next Crouch?

I've got the Turtle of the Osborne (that one and the John Taylor 'Pause and Think Again'). The 'Outback' by the way did come out on CD (FMP?) - not sure if it's still in print. FMR did bootlegs of those Turtle sessions. They're interesting, though I'm not sure I'd say anything watershed occurs on them. Not for me, anyway. The Howard Riley is pretty cool, though. Is bootleg really the proper terminology here? I was always always under the impression that they at least got Osborne's permission... (and so I'm still, on some level, smarting at the sheer volume of bootlegs/sordid releases coming out of the UK/SA jazz reissue axis) Well, Osborne being under longtime care for mental illness(es), the thought of him giving permission is kind of surprising. I was told that the Turtle reissues were unauthorized (by a reliable source), but I'd be pleased to hear something different and more reliable.

I think both factors are interesting on their own. Combined, look out!